DOCSLIB.ORG

History of Formation of the Russian School of Design

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
History of Formation of the Russian School of Design International Conference on Arts, Design and Contemporary Education (ICADCE 2015) History of Formation of the Russian School of Design Anna Goncharova Russian State Specialized Arts Academy Moscow, Russia e-mail: [email protected] Abstract—This article is dedicated to the history of design In 1920, by a decree of Sovnarkom the Higher Arts and education in Russia from its origin to further development. We Technical Workshops (in Russian, VHUTEMAS) was discuss the activities of the school of Soviet design created through the merger of the First and Second SGHMs. VHUTEMAS–VHUTEIN, its new methods of teaching and It was aimed to raise "artists-craftsmen of the highest new design principles, many of which have become canonical qualification for the industry" and teachers for artistic and for design. technical education. The creation of VHUTEMAS marked the beginning of the second stage of the reform of artistic Keywords — history of design; the national school of design; education in Soviet Russia during which a national school of artistic and technical education; VHUTEMAS–VHUTEIN design was formed. In 1927 VHUTEMAS was renamed in I. THE EARLY 1900’S VHUTEIN –Higher Arts and Technical Institute. In 1930 due to the reform of higher education, which was associated Since the beginning of the XXth century the artistic with the transfer of many of the technical institutes from the education in Russia has had a growing number of serious control of Narkompros to industry-specific authorities, contradictions caused primarily by the fact that the academic VHUTEIN was closed. Instead the following institutes were training system was isolating the students from the latest opened: architectural, arts (now named after Surikov), trends in art and did not meet the changing needs that the printing, and the textile industry. industrial development was causing in the arts schools. The teachers of VHUTEMAS had to solve some of the In 1918 in the post-revolutionary Russia a reform of greatest challenges: to develop "objective methods" of artistic education was made. Under the resolution of teaching the artistic disciplines, while contrasting them from Narkompros the Stroganov School of Industrial Art and the the "guild" methods that were used in SGHMs; to develop a School of Painting, Sculpture and Architecture in Moscow common methodology of teaching various artistic disciplines, were turned into the First and Second Free Public Arts thereby bringing closer the artistic and technical education Workshops respectively (in Russian, SGHMs). The main within one institute. In addition, based on the specific idea behind the creation of SGHMs was to part from the requirements of the era, it was necessary to refocus the academic teaching methods and to introduce a new system of training of artists from easel painting to work in the industry. individual workshops. Each student was given the right to study in a workshop lead by an artist of his or her choice. II. THE FACULTIES Thus, while being part of the First and the Second SGHM in By the end of 1923 VHUTEMAS had developed a two- Moscow, many of the most known representatives of the tier system of training. For the first two years students of all Russian avant-garde (V. Tatlin, K. Malevich, V. Kandinsky, disciplines were studying an propaedeutic course on the so- I. Mashkov and others) began to create their own teaching called main faculty, after which they moved over to one of methodologies. Each of them was based on the achievements the eight faculties: architecture, painting, sculpture, of modern art and was reviewing the established methods of metallurgy, lumber, ceramic, textile, printing (graphic). artists’ curriculum. At the main faculty the students got general artistic Such a system of teaching lasted for two years (1918- education. Many valuable methodical finds had been made 1920) and immediately identified a number of contradictions during the formation of this faculty. This course along with within it. First of all, a complete denial of academic training the introductory course "Bauhaus" was a pioneer among all destroyed everything really valuable that was developed over the similar courses of other modern design schools. decades of professional artistic practical training. The Propaedeutic course included such disciplines as "Volume", students of SGHMs, getting acquainted with the latest artistic "Space", "Color" and "Graphics" for students of all trends, instead of getting a broad arts education in fact were specialties. Instead of the traditional work with nature it was perfecting the professional techniques of their SGHM leader. proposed to create abstract geometric compositions that will This situation could satisfy neither teacher or student. It has identify plastic peculiarities of the elements of the become clear that the rejected academic system of teaching composition in each of the four states of form. For the first should be replaced with a new, carefully developed two years of studies, all the students of VHUTEMAS were educational system. studying the basic types of spatial arts, both with their common, unifying features and special, unique features. The © 2015. The authors - Published by Atlantis Press 521 students were learning the main elements and means of structures; from items made of metal to items combining artistic expression of form: color, space, surface, volume, as metal with wood, ceramics, leather and other materials. well as the methods and language of compositional creativity — proportion, rhythm, dynamics, contrasts, and The first training assignments in construction were the patterns of visual perception of the subject environment. projects to develop the primitive everyday things: a spoon, The main goal of the propaedeutic course was to develop door handle, pot, iron, scissors, horseshoe. According to creative thinking, figurative and spatial imagination, feeling Rodchenko, it is necessary to learn to be creative when of plastics, and the feeling of line and color. It is here where working with a simple everyday thing, to find an original and the universal basics of all artistic specialties were formed. rational solution of a design and shape in order to later be able to repeatedly use this solution in the production. When talking about design school established in VHUTEMAS–VHUTEIN two faculties are mainly meant – During the study a lot of attention was paid to metal processing (in Russian, metfak) and wood processing engineering and technical disciplines which was explained (in Russian, derfak), which were united into one faculty in largely by the urgent need to develop Russian industry. It 1926 (in Russian, dermetfak) with two autonomous branches. was reflected in the design of multifunctional mobile objects: folding stand-showcase, armchair turning into a bed, The new method of teaching and the new principles of transforming tables and so on. The construction of such design were tested for the first time in Russia at the wood objects was valued for the ways to use the space, allowing and metal processing faculties. They were not based on objects to unfold and fold in space. These projects were stylization but on the functional requirements, taking into made by using real materials — this allowed checking a account the cultural aspect and industrial technology. student's ability to work with different materials, as well as his or her knowledge of machines and tools. The artistic side III. DEVELOPING TEACHING METHODS of a project was primarily shown as inventive activity aimed The teachers of the metal and wood processing faculties at finding an original, functional and technically justified were A. Rodchenko, El. Lissitzky, V. Tatlin and other object. representatives of industrial art. The guiding principles of Students of the wood processing faculty, guided by their work were: efficient use of materials and constructions, A. Lavinsky and El. Lissitzky, developed projects of built-in rational use of space, and the versatility and mobility of furniture for communal houses, unified and standard products. Any kind of beautification was strongly denied. A furniture, and furniture for specific projects. Lissitzky led the lot of attention was paid to the hygienic side of goods. Many students to design the equipment for real apartments, used of these principles later became canonical for design. both in a mass and experimental construction. Many of his A. Rodchenko was leading the professional development developments marked the beginning of Soviet-style interiors. at metal processing faculty for 10 years. The concept of When Vladimir Tatlin had come to the wood processing design developed by him can be considered as one of the faculty (1928), a new subject emerged — "Culture of systems of design education. materia". Students were making abstract sculpture Design included several stages: from the formulation of compositions (installations) made of a combination of glass, project objectives, analysis of the materials being used, the wood, wire, etc. The second part of the exercise was the characteristics of an object’s use, its appearance and value – design of objects aimed to match different materials to the preparation of work drawings and models of life-size esthetically. that were made of natural materials. IV. THE EVOLUTION OF LEARNING Learning activities were developed as two separate During the same years, the teaching syllabus of directions: the construction of an object — "construction", metallurgy faculty was changing. New requirements were and the metal processing of an object — "composition". put in place - the complexity of the design. The senior year The "Composition" course helped students to master the students had to develop a complex of objects rather than technology of treating surface, developed skills of artistic separate objects, such as equipment for a photo printing shop, and decorative design of an object "based on the consumer museum, bus stop. A new concept appears — "the culture of needs." The formulation of a particular function subordinated an object." One of the first tasks for the design - "Selection the decoration of an object inferior to the object’s function.
Load more

Recommended publications
  • Russian Art 1
    RUSSIAN ART 1 RUSSIAN ART Christie’s dominated the global market for Russian Works of Art and Fabergé in 2016, with our Russian Art sales achieving more than £12 million internationally. For the tenth consecutive season, our Russian Art auctions saw the highest sell-through rates in the market. With a focus on outstanding quality, Christie’s continues to attract both emerging and established collectors in the field. For over a decade, Christie’s has set world auction records in every Russian Art sale. We have broken a total of six records in the past two years, including two in excess of £4 million. Christie’s has set world records for over 50 of Russia’s foremost artists, including Goncharova, Repin, Levitan, Vereshchagin, Vasnetsov, Borovikovsky, Serov, Somov, Lentulov, Mashkov, Annenkov and Tchelitchew. Six of the 10 most valuable paintings ever purchased in a Russian Art sale were sold at Christie’s. Christie’s remains the global market leader in the field of Russian Works of Art and Fabergé, consistently achieving the highest percentage sold by both value and lot for Russian Works of Art. Christie’s closes 2016 with a 60% share of the global Fabergé market, and a 62% share of the global market for Russian Works of Art. cover PROPERTY FROM AN IMPORTANT EUROPEAN COLLECTION KONSTANTIN KOROVIN (1861–1939) Woodland brook, 1921 Estimate: £120,000–150,000 Sold for: £317,000 London, King Street · November 2016 back cover PROPERTY OF A MIDDLE EASTERN COLLECTOR A GEM-SET PARCEL-GILT SILVER-MOUNTED CERAMIC TOBACCO HUMIDOR The mounts marked K.
    [Show full text]
  • Russian Museums Visit More Than 80 Million Visitors, 1/3 of Who Are Visitors Under 18
    Moscow 4 There are more than 3000 museums (and about 72 000 museum workers) in Russian Moscow region 92 Federation, not including school and company museums. Every year Russian museums visit more than 80 million visitors, 1/3 of who are visitors under 18 There are about 650 individual and institutional members in ICOM Russia. During two last St. Petersburg 117 years ICOM Russia membership was rapidly increasing more than 20% (or about 100 new members) a year Northwestern region 160 You will find the information aboutICOM Russia members in this book. All members (individual and institutional) are divided in two big groups – Museums which are institutional members of ICOM or are represented by individual members and Organizations. All the museums in this book are distributed by regional principle. Organizations are structured in profile groups Central region 192 Volga river region 224 Many thanks to all the museums who offered their help and assistance in the making of this collection South of Russia 258 Special thanks to Urals 270 Museum creation and consulting Culture heritage security in Russia with 3M(tm)Novec(tm)1230 Siberia and Far East 284 © ICOM Russia, 2012 Organizations 322 © K. Novokhatko, A. Gnedovsky, N. Kazantseva, O. Guzewska – compiling, translation, editing, 2012 [email protected] www.icom.org.ru © Leo Tolstoy museum-estate “Yasnaya Polyana”, design, 2012 Moscow MOSCOW A. N. SCRiAbiN MEMORiAl Capital of Russia. Major political, economic, cultural, scientific, religious, financial, educational, and transportation center of Russia and the continent MUSEUM Highlights: First reference to Moscow dates from 1147 when Moscow was already a pretty big town.
    [Show full text]
  • Durham Research Online
    Durham Research Online Deposited in DRO: 18 August 2015 Version of attached le: Published Version Peer-review status of attached le: Peer-reviewed Citation for published item: Parton, A. (2013) 'Keys to the enigmas of the world : Russian icons in the theory and practice of Mikhail Larionov, 1913.', InCoRM journal., 4 (Spring-Autumn). pp. 15-24. Further information on publisher's website: http://www.incorm.eu/vol5table.html Publisher's copyright statement: Additional information: Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk ANTHONY PARTON Keys to the Enigmas of the World: Russian Icons in the Theory and Practice of Mikhail Larionov, 1913 Dr Anthony Parton is Lecturer in the School of Education and Director of the Undergraduate Art History programme at Durham University. During the last 30 years he has researched and published on the life and art of the work of Mikhail Larionov and Natalia Goncharova.
    [Show full text]
  • Qt0m64w57q.Pdf
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Ideologies of Pure Abstraction Permalink https://escholarship.org/uc/item/0m64w57q Author Kim, Amy Chun Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Ideologies of Pure Abstraction By Amy Chun Kim A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Whitney Davis, Chair Professor Todd Olson Professor Robert Kaufman Spring 2015 Ideologies of Pure Abstraction © 2015 Amy Chun Kim Abstract Ideologies of Pure Abstraction by Amy Chun Kim Doctor of Philosophy in History of Art University of California, Berkeley Professor Whitney Davis, Chair This dissertation presents a history of the development of abstract art in the 1920s and 1930s, the period of its expansion and consolidation as an identifiable movement and practice of art. I argue that the emergence of the category of abstract art in the 1920s is grounded in a voluntaristic impulse to remake the world. I argue that the consolidation of abstract art as a movement emerged out of the Parisian reception of a new Soviet art practice that contained a political impetus that was subsequently obscured as this moment passed. The occultation of this historical context laid the groundwork for the postwar “multiplication” of the meanings of abstraction, and the later tendency to associate its early programmatic aspirations with a more apolitical mysticism. Abstraction has a long and varied history as both a conceptual-aesthetic practice and as an ideal.
    [Show full text]
  • Russian Art at Christie's in June
    For Immediate Release 21 May 2008 Contact: Alex Kindermann 020 7389 2289 [email protected] Matthew Paton 020 7389 2965 [email protected] RUSSIAN ART AT CHRISTIE’S IN JUNE • DEDICATED RUSSIAN ART SALE TO OFFER WORKS BY GONCHOROVA, LARIONOV AND KONCHALOVSKI • ELSEWHERE AT CHRISTIE’S IN JUNE, A GONCHAROVA MASTERPIECE EXPECTED TO REALISE UP TO £4.5 MILLION, AND THE ONASSIS FABERGÉ BUDDHA LEADS THE AUCTION OF JEWELRY London – In June 2008, Christie’s will offer a wide array of exceptional Russian works of art, offered at the auctions of Russian Art, Icons and Artefacts from the Orthodox World, The London Jewels Sale, and the Impressionist and Modern Art Evening Sale, all taking place at King Street. Highlights include: Icons and Artefacts from the Orthodox World Monday 9 June 2008 Building on the strength of 2007, when auctions of Icons at Christie’s realized over £7 million, an increase of 724% on 2006 (total: £971,000), the auction on 9 June will offer 230 lots spanning the 15th to the 20th century. The most valuable auction of Icons ever organised in the international marketplace, the sale is expected to fetch in the region of £5 million. The auction will include significant Russian and Greek icons as well as valuable Orthodox artefacts such as a Book of Gospels, once belonging to the Grand Duke Aleksander Mikhailovich Romanov, son-in-law of Tsar Alexander III (estimate: £35,000-45,000) illustrated left. The Adoration of the Mother of God by Patron Saints of the Stroganov Family is a superb example of 17th century icon painting (lot 28, estimate: £40,000-60,000) illustrated right.
    [Show full text]
  • Kazimir Malevich Was a Russian Artist of Ukrainian Birth, Whose Career Coincided with the Bolshevik Revolution of 1917 and Its Social and Cultural Aftermath
    QUICK VIEW: Synopsis Kazimir Malevich was a Russian artist of Ukrainian birth, whose career coincided with the Bolshevik Revolution of 1917 and its social and cultural aftermath. Malevich was the founder of the artistic and philosophical school of Suprematism, and his ideas about forms and meaning in art would eventually form the theoretical underpinnings of non- objective, or abstract, art making. Malevich worked in a variety of styles, but his most important and famous works concentrated on the exploration of pure geometric forms (squares, triangles, and circles) and their relationships to each other and within the pictorial space. Because of his contacts in the West, Malevich was able to transmit his ideas about painting to his fellow artists in Europe and the U.S., thus profoundly influencing the evolution of non-representational art in both the Eastern and Western traditions. Key Ideas • Malevich worked in a variety of styles, from Impressionism to Cubo-Futurism, arriving eventually at Suprematism - his own unique philosophy of painting and art perception. • Malevich was a prolific writer. His treatises on philosophy of art address a broad spectrum of theoretical problems and laid the conceptual basis for non-objective art both in Europe and the United States. • Malevich conceived of an independent comprehensive abstract art practice before its definitive emergence in the United States. His stress on the independence of geometric form influenced many generations of abstract artists in the West, especially Ad Reinhardt. © The Art Story Foundation – All rights Reserved For more movements, artists and ideas on Modern Art visit www.TheArtStory.org DETAILED VIEW: Childhood Malevich was born in Ukraine to parents of Polish origin, who moved continuously within the Russian Empire in search of work.
    [Show full text]
  • Arts and Crafts in Late Imperial Russia: Reviving the Kustar Art Industries Wendy Salmond Chapman University, [email protected]
    Chapman University Chapman University Digital Commons Art Faculty Books and Book Chapters Art 1996 Arts and Crafts in Late Imperial Russia: Reviving the Kustar Art Industries Wendy Salmond Chapman University, [email protected] Follow this and additional works at: http://digitalcommons.chapman.edu/art_books Part of the Art and Design Commons, and the Slavic Languages and Societies Commons Recommended Citation Salmond, Wendy R. Arts and Crafts ni Late Imperial Russia: Reviving the Kustar Art Industries, 1870-1917. Cambridge: Cambridge University Press, 1996. This Book is brought to you for free and open access by the Art at Chapman University Digital Commons. It has been accepted for inclusion in Art Faculty Books and Book Chapters by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. The librumtsevo Workshops In the academic debate over who will emerge the victor in the battle between factory and kustar industry, artistic kustar production occu­ pies one of the strongest positions, for the simple fact that artistic activity doesn't need heavy machinery, large engines, and the exten­ sive appliances of the factory. N. Elfimov N THE COMPLEX STRUCTURE ofRussian peasant society at the close of the nineteenth century, the kustar, or peasant handicraftsman, occupied an uncertain and ambivalent posi­ tion. Public opinion swung between two extremes. Was he the heir to centuries of folk culture or simply a primitive form of proto­ industrialization? Was he Russia's only hope for the future or a source of national shame? Was he a precious symbol of country life or a symptom of agriculture's decline?1 The officially sanctioned definition of kustar industry as "the small-scale family organization of produc­ tion of goods for sale, common among the peasant population ofRus­ sia as a supplement to agriculture" did little to answer these questions.
    [Show full text]
  • Following the Black Square: the Cosmic, the Nostalgic & the Transformative in Russian Avant-Garde Museology Teofila Cruz-Uri
    Following The Black Square: The Cosmic, The Nostalgic & The Transformative In Russian Avant-Garde Museology Teofila Cruz-Uribe A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in International Studies: Russia, East Europe and Central Asia University of Washington 2017 Committee: Glennys Young James West José Alaniz Program Authorized to Offer Degree: Jackson School of International Studies Cruz-Uribe ©Copyright 2017 Teofila Cruz-Uribe 1 Cruz-Uribe University of Washington Abstract Following The Black Square: The Cosmic, The Nostalgic & The Transformative In Russian Avant-Garde Museology ​ ​ Teofila Cruz-Uribe Chair of the Supervisory Committee: Jon Bridgman Endowed Professor Glennys Young History Department & Jackson School of International Studies Contemporary Russian art and museology is experiencing a revival of interest in the pioneering museology of the Russian artistic and political avant-garde of the early 20th century. This revival is exemplified in the work of contemporary Russian conceptual artist and self-styled ‘avant-garde museologist’ Arseniy Zhilyaev (b. 1984). Influential early 20th century Russian avant-garde artist and museologist Kazimir Malevich acts as the ‘tether’ binding the museologies of the past and present together, his famous “Black Square” a recurring visual and metaphoric indicator of the inspiration that contemporary Russian avant-garde museology and art is taking from its predecessors. This thesis analyzes Zhilyaev’s artistic and museological philosophy and work and determines how and where they are informed by Bolshevik-era avant-garde museology. This thesis also asks why such inspirations and influences are being felt and harnessed at this particular juncture in post-Soviet culture.
    [Show full text]
  • Konstantin Vialov and the Search for a Modern Realism” by Alla Rosenfeld, Ph
    Aleksandr Deineka, Portrait of the artist K.A. Vialov, 1942. Oil on canvas. National Museum “Kyiv Art Gallery,” Kyiv, Ukraine Published by the Merrill C. Berman Collection Concept and essay by Alla Rosenfeld, Ph. D. Edited by Brian Droitcour Design and production by Jolie Simpson Photography by Joelle Jensen and Jolie Simpson Research Assistant: Elena Emelyanova, Research Curator, Rare Books Department, Russian State Library, Moscow Printed and bound by www.blurb.com Plates © 2018 the Merrill C. Berman Collection Images courtesy of the Merrill C. Berman Collection unless otherwise noted. © 2018 The Merrill C. Berman Collection, Rye, New York Cover image: Poster for Dziga Vertov’s Film Shestaia chast’ mira (A Sixth Part of the World), 1926. Lithograph, 42 1/2 x 28 1/4” (107.9 x 71.7 cm) Plate XVII Note on transliteration: For this catalogue we have generally adopted the system of transliteration employed by the Library of Congress. However, for the names of artists, we have combined two methods. For their names according to the Library of Congress system even when more conventional English versions exist: e.g. , Aleksandr Rodchenko, not Alexander Rodchenko; Aleksandr Deineka, not Alexander Deineka; Vasilii Kandinsky, not Wassily Kandinsky. Surnames with an “-ii” ending are rendered with an ending of “-y.” But in the case of artists who emigrated to the West, we have used the spelling that the artist adopted or that has gained common usage. Soft signs are not used in artists’ names but are retained elsewhere. TABLE OF CONTENTS 7 - ‘A Glimpse of Tomorrow’: Konstantin Vialov and the Search for a Modern Realism” by Alla Rosenfeld, Ph.
    [Show full text]
  • Shapiro Auctions
    Shapiro Auctions RUSSIAN AND INTERNATIONAL FINE ART & ANTIQUES Saturday - October 25, 2014 RUSSIAN AND INTERNATIONAL FINE ART & ANTIQUES 1: A RUSSIAN ICON OF HOLY MARTYR PARASKEVA WITH LIFE USD 30,000 - 40,000 A RUSSIAN ICON OF HOLY MARTYR PARASKEVA WITH LIFE SCENES, NORTHERN SCHOOL, LATE 16TH-EARLY 17TH CENTURY, the figure of Saint Paraskeva, venerated as the healer of the blind as well as the patron saint of trade and commerce, stands in a field of flowering plants, she holds her martyr`s cross in one hand and an open scroll in the other, a pair of angels places a crown upon her head, surrounding the central image are fourteen scenes from the saint`s life, including the many tortures she endured under Emperor Antoninus Pius and the Roman governor Tarasius. Egg tempera, gold leaf and gesso on wood panel with kovcheg. Two insert splints on the back, one missing, one-half of the other present. 103 x 80 cm (40 ½ x 31 1/2 in.)PROVENANCESotheby`s, New York, June 10-11, 1981, lot 541.Collection of Bernard Winters, Armonk, New York (acquired at the above auction)Bernard J. Winters was a philanthropist and art collector who was captivated by Russian icons. Over a fifty-year period, he worked closely with Sotheby`s, Christie`s, and private collectors to cultivate his collection. His monumental icons, as well as those purchased from Natalie Hays Hammond, daughter of John Hays Hammond, diplomat, were some of his favored items. 2: A RUSSIAN ICON OF THE VENERABLE SERGIUS OF RADONEZH, USD 10,000 - 15,000 A RUSSIAN ICON OF THE VENERABLE SERGIUS OF RADONEZH, YAROSLAVL SCHOOL, CIRCA 1600, the saint depicted holding a scroll featuring an excerpt from his last words to his disciples, "Do not be sad Brothers, but rather preserve the purity of your bodies and souls, and love in a disinterested manner," above him is an image of the Holy Trinity - a reference to his Monastery of the Holy Trinity, as well as to the icon painted by Andrei Rublev under Sergius` successor, on a deep green background with a red border.
    [Show full text]
  • Yakov Chernikhov Yakov Chernikhov
    Yakov Chernikhov 1889-1951 The Soviet Piranesi A Major Collection of 47 Works Yakov Chernikhov 1889-1951 JAMES BUTTERWICK Alon Zakaim RUSSIAN AND EUROPEAN FINE ARTS Fine Art 34 Ravenscourt Rd. London W6 0UG 5-7 Dover St. London W1S 4LD +44 (0)20 8748 7320 +44 (0)20 7287 7750 [email protected] [email protected] www.jamesbutterwick.com www.alonzakaim.com 1 Front cover: from the series, Fundamentals of Modern Architecture (p. 48) Inside cover: detail, from the series, Pantheons of the Great Patriotic War (p. 32) Back inside cover: detail, from the series, Pantheons of the Great Patriotic War (p. 34) Current page: detail, from the series, Industrial Tales (p. 24) First published in London, 2018 by James Butterwick and Alon Zakaim Fine Art www.jamesbutterwick.com www.alonzakaim.com All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electrical, mechanical or otherwise, without first seeking the permission of the copyright owners and the publishers. All images in this catalogue are protected by copyright and should not be reproduced without permission of the copyright holder. © 2018 James Butterwick and Alon Zakaim Fine Art Design by Maggie Williams Printed by C3 Imaging Published on the occasion of Yakov Chernikhov 1889-1951: The Soviet Piranesi, a selling exhibition of works by James Butterwick and Alon Zakaim Fine Art at Alon Zakaim Fine Art, 5-7 Dover St. London W1S 4LD from Wednesday 5 December 2018 until Monday 21 January 2019 2 Contents
    [Show full text]
  • Anthony Parton, Keys to the Enigmas of the World: Russian Icons in The
    ANTHONY PARTON Keys to the Enigmas of the World: Russian Icons in the Theory and Practice of Mikhail Larionov, 1913 Dr Anthony Parton is Lecturer in the School of Education and Director of the Undergraduate Art History programme at Durham University. During the last 30 years he has researched and published on the life and art of the work of Mikhail Larionov and Natalia Goncharova. He is the author of Mikhail Larionov and the Russian Avant-Garde, 1998, and Goncharova, The Art and Design of Natalia Goncharova, 2010. 15 The “Foreword” to the catalogue of the Exhibition of Original Icon Paintings and Lubki written by Mikhail Larionov, and hence the introduction to the exhibition itself (1), which he also organised, is outrageously disorienting. It represents a typical example of Mikhail Larionov’s “bad-boy perversity” for which he deserved “to be spanked and put to bed rather than criticised”.1 As a foreword, the reader turns to it for clarification and guidance and yet receives none. In a passage reminiscent of the prophetic tone of Mme. Blavatsky, Larionov describes a “boor” who stumbles by accident into a period very different to his own.2 The familiar parameters by which he structures his sad and dismal existence are pulled apart since this period operates according to very different laws than those of his own. He is dazed, staggered, his tongue quivers in his parched throat and, forced back upon a conceptual paradigm that is critically flawed and unequal to the demands of the new reality that presents itself, he is forced to perish, shipwrecked in a vessel of his own making that he cannot escape – “to die like Narcissus”.3 As if this were not confusing enough for the reader of the s#ATALOGUEOF%XHIBITIONOF/RIGINAL)CON0AINTINGS catalogue / visitor to the exhibition, the narrative is suddenly and Lubki Moscow, 1913, Private Collection, England disrupted by a second and third passage, both claiming to be from “an unpublished history of art”.4 Here, matters become even more confusing.
    [Show full text]